Date: 24 Apr 2013; Location/venue: University for the Creative Arts Epsom Ashley Road, Epsom, Surrey , England, KT18 5BE
"The Group for Learning in Art and Design (GLAD) will be holding their 2013 annual conference on 24 April 2013 and is calling for case studies and research papers that explore three areas that are likely to change the future of English art and design higher education.
1. Starting. Changes to the school art and design curriculum and how the new English Baccalaureate and the demands it places on school timetables might crowd out of the curriculum offer in the arts. How we might engage to redress this? Speaker/s from the school sector.
2. Sustaining. How we should evolve our working with students to support their learning and to address the data-led climate for student choice? Speaker/s from institutions that have improved their student experience data and are engaging with students in innovative ways.
3. Succeeding. What are institutions doing to support employability? Case studies from graduates highlighting what was useful to them in securing employment, plus speaker/s from creative careers professionals.
We are looking for responses to these questions and themes, with contributors offering the conference presentations/papers/discussions typically of 20 minutes duration."
(UK Higher Education Academy)
"Exquisite Clock is a clock made of numbers taken from everday life seen, captured and uploaded by people from all over the world. The project connects time, play and visual aesthetics. It's about creativity, collaboration and exchange.
Exquisite Clock is based on the idea that time is everywhere and that people can share their vision of time. Through the website www.exquisiteclock.org, users are invited to collect and upload images of numbers that can be found in different contexts around them objects, surfaces, landscapes, cables... anything that has a resemblance to a number.
The exquisite clock has an online database of numbers an exquisite database at its core. This supplies the website and interconnected physical platforms. The online database works like a feeder that provides data to different instances of clocks in the form of the website, and installations, mobile applications, designed products and urban screens.
All uploaded numbers are tagged according to a category selected by their creator, and are added to the growing database. People viewing the clock can then choose to view all types of numbers, or can make a selection to view only numbers from a specific category a clock made of vegetables, or clouds, or garments etc."
Fig.1 Exquisite Clock was created and developed Joao Henrique Wilbert at Fabrica in 2009, creative direction by Andy Cameron.
"Real - the installation - consists of a database of images. Images were chosen that had the potential to raise issues of mediation and authenticity - details from postcards, signage and survey forms, street scenes, museum displays and advertising. The images are categorised according to terms such as nature, prosthesis and body terms that reveal something of the practices, often implicit, that are at play in the interpretation of contemporary environments. The digital medium allowed us to construct and explore a matrix of associations between images and categories in the database. Sequences of images relevant to a category are displayed over multiple monitors. Through the juxtaposition of images with images, and images with categories, shifts in understanding occur. Assumptions about the real are brought into play.
The project grew out of an interest in two bodies of work The first, the work of the Situationist International with their focus on the social and cultural mediation that occurs in urban environments. We were particularly interested in the Situationist strategy of the dιrive (drift) as a means of renegotiating and reconceptualising encounters with lived environments. The second body of work was that of writers such as Heidegger, Gadamer, Wittgenstein and Foucault. We were interested in the metaphors that they explored in articulating alternatives to metaphysical concepts of interpretation, truth, language and representation. In particular we were interested in developing a visual and physical response to the insight that we are always already located within constellations of practice. All perception is mediated by prior understanding. All experience is interpretation.
We were also interested in developing modes of expression that draw on specific qualities of digital media. Processes of classification and random combination lie at the heart of the work. These are supported through the use of a database and random generation algorithms. Combinations of images and categories that might not otherwise come to light are constructed."
(Aaron Fry & Sally McLaughlin)
"Soft Cinema bridges the gap between today's interfaces and tomorrow's cinema. This programme assembles a variety of audio-visual materials (city impressions, 2D animations, infrared images, music) from a database and edits everything into stories. Software decides what appears on the screen, where and in what order. The screen's lay-out is refreshed at the start of each new episode and the corresponding material is distributed across multiple windows. The resulting clips will be shown on monitors in the festival lounge, with a voice-over guarding the overall storyline."